'Er gab mir, was äußerst ungewöhnlich war, zum Abschied die Hand': Touch and tact in W. G. Sebald's Die Ausgewanderten and Austerlitz
'Er gab mir, was äußerst ungewöhnlich war, zum Abschied die Hand': Touch and tact in W. G. Sebald's Die Ausgewanderten and Austerlitz
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“Er gab mir，是‘uäerst ungewöhnlich war, zum Abschied die Hand’：W. G. Sebald 的《Die Ausgewanderten》和《Austerlitz》中的接触和机智
DOI：
10.1177/0047244111413699
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发表时间：
2011
影响因子：
0.3
通讯作者：
Bird S
中科院分区：
文献类型：
--
作者：
Bird S
本文探讨了《奥斯特里茨》（A）和《移民》（DA/TE）中触摸的主题和表现，认为触摸的缺失和过度触摸都是威胁性的，如果不是致命的话。因此，触摸必须是中介的，触摸的距离和接近特性的复杂相互作用被封装在机智的概念中。Sebald的文本从三个方面探索机智：在对特定物体的暗示中，特别是手套和灰尘;在照片中触摸的视觉唤起中;以及在叙述本身的模式中。然而，在“太多”和“太少”的触摸之间的仔细谈判很容易变成一种沉默的美学，这种美学既促进又掩饰了对女性不可触摸的身体的情感。格温多林·埃利亚斯（Gwendolyn Elias）是淫秽的、不可触摸的身体的典范，而色情的母亲和女性情人则是诱人的、不可触摸的身体的典范。
This essay explores the theme and representation of touch inAusterlitz(A) andDie Ausgewanderten/ The Emigrants(DA/TE) and argues that the absence of touch and an excess of touch are both shown to be threatening, if not deadly. So touch must be mediated, and the complex interplay of distance and proximity characteristic of touch is encapsulated in the notion of tact. Sebald’s texts explore tact in three ways: in allusions to particular objects, particularly gloves and dust; in the visual evocation of touch in photographs; and in the mode of narration itself. Nevertheless, the careful negotiation between the ‘too much’ and the ‘too little’ of touch tips easily into an aesthetics of reticence that both facilitates and disguises the privileging of a melancholic sensibility over the untouchable body of the woman. The obscene, untouchable body is exemplified by Gwendolyn Elias, and the seductive, untouchable body by the erotic mother and female lover.